Imagine a picturesque 18th-century countryside, immersed in a warm summer light, where farm boys and girls joyfully work, dance and flirt: this is the scene where the uplifting story of La Fille Mal Gardée takes place. Lise and Colas are two teenagers in love; Lise’s mother wants her to marry the son of a rich landowner, but she eventually gives in and lets Lise follow her heart.

There is nothing tortured or dramatic in this pastorale: it is all light fun and innocent play; and for once, it is such a pleasure to just go to the theatre and come out with a smile. There are some pantomime elements to it – Lise’s mother, danced by a man, is a proper ‘panto dame’, and a group of delightful chickens open the ballet – but it is above all a choreographic bijou. Ashton’s language is precise and sophisticated, sometimes technically very challenging. All of Birmingham Royal Ballet’s dancers are excellent in his style, and from the soloists to the ensemble, the dancing is both impeccable and enthusiastic.

Miki Mizutani as Lise is a mischievous teenager who hides a very kind, delicate girl. Her feet are sharp and precise and she masters the hardest solos with light elegance. Her sweetheart, Colas, interpreted by Lachlan Monaghan, is charming and bursting with energy. His jumps and turns are impressive. Both are brilliant in the duets, showing flawless technique and a good sense of humour. Rory Mackay, as Widow Simone (Lise’s mother) delights the audience with an exhilarating clog-dancing number worthy of the best musical tap-dancing.

Michael O’Hare as Widow Simone and dancers of Birmingham Royal Ballet in La Fille Mal Gardée

La Fille Mal Gardée is one of the oldest ballets in circulation: originally created in France in 1789, it was adapted several times during the 19th century. Now many versions exist, both in terms of choreography and score, and Frederick Ashton’s was created for the Royal Ballet in 1960.

The music, based on works by 19th-century French composer Ferdinand Hérold and arranged by John Lanchbery for Ashton in 1960, is played live by the Royal Ballet Sinfonia. The orchestra’s engaging performance, under the direction of Paul Murphy, gives the sweet tunes energy and character.

Birmingham Royal Ballet’s performance is once again of the highest quality. The company demonstrates its talent for keeping traditional works alive and relevant – and, most importantly, guarantees a lovely time for its audience.